Don’t call Kylie Kelce a WAG. The acronym for the “wives and girlfriends” of professional athletes rankles the podcaster, who first rose to fame as the wife of retired Philadelphia Eagles player Jason Kelce. As Kelce explains, the phrase suggests that “your spouse’s profession swallows you up as well.”But many in the media are heralding this moment as a “new era” for WAGs, and Kelce is just one of several famous women who are at the fore of this renaissance: Everyone from TikToker Alix Earle, who is dating Miami Dolphins player Braxton Berrios, to Olympic gold medalist Simone Biles — unquestionably the more famous athlete — who is married to the Chicago Bears’ Jonathan Owens. Then there’s Taylor Swift, one of the most successful musicians on the planet, who, thanks to her relationship with Kylie’s brother-in-law Travis Kelce, has become the ultimate symbol of the new WAG.Meanwhile, a host of lesser-known women are experiencing their first taste of fame through their relationships with tennis players, Formula 1 race-car drivers, and even pole-vaulters. A sizable number have leveraged their romantic lives to receive brand deals, podcasting opportunities, and magazine profiles.By and large, our understanding of WAGs is rapidly evolving to acknowledge their own social and economic power. They’ve transformed from tabloid punching bags to an appealing status symbol. Still, the continued use of the term does raise some complicated questions: Why are we so interested in defining these women, some of whom are independently successful, by their relationships to men? And what does it mean that they might be raking in more attention and financial opportunities than some female athletes? The rise of the new WAG The public’s fascination with WAGs isn’t new. The acronym originated across the pond in the early 2000s to describe the wives and girlfriends of English footballers. British tabloids and football fans alike lambasted women — celebrities in their own right — like former Girls Aloud member Cheryl Cole and former Spice Girl Victoria Beckham for their partying, extravagant spending, and flashy, maximalist looks. When the England national football team lost the 2006 FIFA World Cup, their partners were blamed in the press for the defeat. In the United States, being a WAG could be an equally dangerous public position. From Jessica Simpson to the Kardashians, they’ve been painted as distractions, attention-seekers, and bearers of bad luck. Over the past two decades, though, a WAG has become less of an involuntary title and more of an identity that some women are willing to cultivate, given that it can come with its own rewards.David and Victoria Beckham at the MOBO Awards on October 6, 1999. Dave Hogan/Getty ImagesThis modern version of WAG-dom can be credited to early 2010s reality shows like WAGS, Basketball Wives, and La La’s Full Court Life. These platforms allowed these women — some anonymous before they entered into relationships with athletes — to craft their own public narratives and become notable personalities on their own. For years now, Ayesha Curry, wife of Golden State Warriors point guard Stephen Curry, has modeled what it means to be a “WAG influencer,” embracing her public relationship with her spouse while building a separate career as a successful cookbook author and host. Since then, WAG-influencers have become a welcome staple of certain sports cultures. Formula 1 has exploded in recent years, with a small part of that popularity owed to the sport’s stylish other halves. Since 2017, female viewership has grown from 8 percent to 40 percent. This has been largely credited to the popular Netflix series Formula 1: Drive to Survive, which put a spotlight on the personal lives of drivers and, naturally, their partners. Lily Herman, who writes the F1 newsletter Engine Failure, says that the current popularity of WAG-influencers in Formula 1 can be credited to the former partners of a few young popular drivers from 2019 to 2022, like Carlos Sainz’s girlfriend Isa Hernáez and Charles Leclerc’s girlfriend Charlotte Sine, who were both featured on Drive to Survive. In 2022, Sine was the first WAG in the sport to explicitly use her access to the F1 circuit as a part of an ad campaign for the skincare brand Sunday Riley.“They were around during an era where the sport saw a lot of growth in its younger fan base, especially among teen girls and younger women, and there was a new wave of interest in these young drivers’ personal lives,” says Herman. These women have inspired fan pages, Tumblr accounts, and subreddits dedicated to their relationships, fashion, and rumored drama. Lately, the organization has fully embraced WAGs as recognizable supporting characters in the F1 universe, featuring them on social media and including them on chyrons during racing broadcasts. Tennis has tried to replicate the WAG-to-influencer pipeline too, although the sport and its fans are still warming up to the presence of outside partners. Morgan Riddle, who’s dating highest-ranked American male player Taylor Fritz, has been making get-ready-with-me videos for tournaments and vlogging about her life on the tennis tour since 2022. Ayan Broomfield, a former college tennis player who’s dating Frances Tiafoe, and influencer Paige Lorenze, who’s dating Tommy Paul, have mimicked the same career path, broadcasting their lives as WAGs on social media. Herman says that WAGs play a role in “adding dimension” to their male partners, contributing to the marketability of both. “Fritz is pretty bland as a public figure without his girlfriend,” says Herman. “She’s done way more in her work as an influencer and content creator to make him seem multidimensional than he has through solo interviews and profiles.”It certainly benefits younger, newer WAGs who are already powerful women. Biles and Swift have joined their ranks and seem to take pride in the role. Beckham, now a successful fashion designer, has also played a role in igniting a nostalgia for WAGs, thanks to the popular 2023 Netflix docuseries Beckham. The business of being a WAG is still very traditional In our current political climate, the WAG boom raises interesting questions. Research shows that some Gen Z-ers are identifying as more conservative than their parents. “Trad wife” content abounds online. Where do WAGs fit in? WAG influencers share some obvious similarities to tradwife influencers, women who’ve created lucrative identities and even businesses by perpetuating conservative ideas of marriage and motherhood. In a Substack essay, sports writer Frankie De La Cretaz argues that WAGs are essentially the tradwives of men’s sports: “No matter how many businesses a WAG starts or how many charities she runs, she still embodies a heteronormative idea of family and a woman’s place in society.” It’s hard to get around the fact that most WAGs are initially famous for their association with a male partner, although they may ultimately transcend that attachment (see Kylie Kelce’s complaint about being called a WAG and consider that her podcast, Not Gonna Lie, briefly dethroned The Joe Rogan Experience when it debuted in 2024).WAGs are gaining visibility while the most talented female athletes are still fighting for wage parity and struggling to land brand deals.But even attempts to define WAGs outside of their relationships come off a bit shallow. Stories about how these women are impacting sports largely focus on their brand deals and follower counts. When we celebrate the influence of WAGs, we’re mostly talking about their ability to turn other women into consumers and spectators, not athletes. Meanwhile, WAGs are gaining visibility while the most talented female athletes are still fighting for wage parity and struggling to land brand deals. Back in March, Australian tennis pro Daria Saville made a TikTok about the lack of sponsorships she and other female pros receive compared to tennis WAGs. “Female tennis players are not getting those brand deals,” she said. “It’s actually tennis WAGs that fit into the ‘aesthetic’ rather than, us, sweaty tennis players.” De la Cretaz tells Vox that the WAG boom echoes the mainstream platforming of tradwives. “It’s an extension of “girlboss” feminism, the idea that promoting women regardless of what that looks like is somehow good for women,” De la Cretaz says. “It’s also this idea that whatever you’re choosing is valid, even though those choices don’t exist in a vacuum.” The most visible WAGs are still predominantly in straight relationships, and a large part of being one still involves affirming a male athlete’s heterosexuality. As journalist Kira Cochrane wrote in a 2010 piece for the Guardian about football WAGs, “consciously or not, the women know their role is to boost their partner’s masculinity.” She added that their often highly feminized presentation “underlines [their] status as possessions, part of the package for footballers.” WAGs, with their new clout and influence, haven’t exactly gotten a total makeover. Rather, their hustle has grown more appealing. After all, they represent all the things women are encouraged to be in a time when mainstream culture is trending more conservative. They’re tradwives. They’re girlbosses. They’re stylish and beautiful. Most of all, they’re sitting on the sidelines. See More:

It takes a lot to make a paint color one of the most popular paint colors of all time—not every shade can be a Swiss Coffee or Pink Ground, after all. As Country Living’s Senior Homes & Style Editor, I am always on the hunt for what’s trending in the color world, so when I received an email from storied paint company Sherwin-Williams with data on their least popular paint color, I was intrigued. For the second year in a row, Sherwin-Williams is announcing their “Loneliest Color of the Year.” This year’s winner is Radiant Lilac. Throughout 2024, Radiant Lilac was Sherwin-Williams’ least tinted color. In fact, out of the millions of gallons of paint they create—a process known as tinting—this shade had less than 1,000 gallons tinted. For Some of Our Favorite Paint Colors:A true lilac, this shade is a softer take on the popular muddy plum, which appeared in our 2025 paint trend report after being named a color of the year by both Benjamin Moore and Glidden. “Purple can feel like a bold commitment—it’s not always the first color people reach for, especially if they’re unsure about how to bring it into their space,” says Sherwin-Williams Director of Color Marketing Sue Wadden. “Radiant Lilac sits in that in-between space: it’s not a neutral, but it’s not an overwhelming statement either, which can make it feel a little uncertain for some.”As part of the announcement that this soft purple is the company’s least popular shade, Sherwin-Williams teamed up with one of the most popular basketball players in recent years, Paige Bueckers, who was the first pick in the 2025 WNBA draft and won the 2025 NCAA College Basketball Championship with her alma mater, the University of Connecticut. Paige, who now plays for the Dallas Wings, is known for her love of purple and recently wore an iconic Radiant Lilac-colored custom suit created in collaboration with legendary designer Dapper Dan and Sherwin-Williams. Amy Sussman//Getty ImagesWNBA star Paige Bueckers at the 2024 ESPYS in a custom Radiant Lilac-colored suitIf Paige’s love for purple doesn’t have you convinced that the shade is worth trying, its cozy, universally flattering undertones should. “It’s that perfect balance between red and blue, so it feels grounded and calming, yet expressive,” says Sue. If you want to make a statement, use the color to highlight architectural features or statement furniture, Sue advises. She also recommends pairing it with moodier shades such as Roycroft Bronze Green or Rookwood Dark Red. But if you’re in the mood for something lighter, Sue recommends trying Cool Beige or Ice Cube. So, what do you think? Is it time for lilac to make a comeback? For More Paint Colors You’re Sure To Love:Anna LoganSenior Homes & Style EditorAnna Logan is the Senior Homes & Style Editor at Country Living, where she has been covering all things home design, including sharing exclusive looks at beautifully designed country kitchens, producing home features, writing everything from timely trend reports on the latest viral aesthetic to expert-driven explainers on must-read topics, and rounding up pretty much everything you’ve ever wanted to know about paint, since 2021. Anna has spent the last seven years covering every aspect of the design industry, previously having written for Traditional Home, One Kings Lane, House Beautiful, and Frederic. She holds a degree in journalism from the University of Georgia. When she’s not working, Anna can either be found digging around her flower garden or through the dusty shelves of an antique shop. Follow her adventures, or, more importantly, those of her three-year-old Maltese and official Country Living Pet Lab tester, Teddy, on Instagram.  

Alicella gigantea, the world’s largest amphipod, may be more common than we had thoughtMaroni et al./Royal Society Open Science A giant crustacean that resembles a large white shrimp may be far more common across the deep sea than thought, with potential habitat extending over much of the ocean floor. “We have called this species rare for so long. We call everything in the deep sea rare,” says Paige Maroni at the University of Western Australia. “But in actual fact these species are probably more connected than we would have ever expected.” Advertisement The crustacean, known as Alicella gigantea, has the distinction of being the world’s largest amphipod, growing up to 34 centimetres in length. But this “supergiant”, living on the floor of the deep ocean, hasn’t been easy to find. “Because [the deep sea] is so hard to get to, it’s been undersampled for so long, and we’re finally playing catch up,” says Maroni. She and her colleagues collected 75 records of A. gigantea, stretching back to the first collection of a specimen in 1899. These included finds in the Pacific, Atlantic and Indian oceans. They also used DNA sequences from specimens across all three oceans to reconstruct genetic relationships among different populations. They found the specimens had been collected from depths ranging from 3890 to 8931 metres. They estimate that about 59 per cent of the sea floor falls within this range. The genetic data also suggested the specimens, although distributed across this vast area, all represented one genetically similar species. Unmissable news about our planet delivered straight to your inbox every month. Sign up to newsletter Maroni says this implies the crustaceans could live across far more of the ocean floor than sparse collections would suggest. The 59 per cent figure based only on depth is a maximum habitat extent, but is the best available based on the little we know about these creatures. Journal referenceRoyal Society Open Science DOI: 10.1098/rsos.241635 Topics:

The creative team behind the recent two-part adaptation of Stephen King’s It now has a prequel to their work (and, by extension, King’s) coming to HBO and HBO Max.Titled It: Welcome to Derry, the show is set prior to the events of the novel and the two films, which were directed by Andy Muschietti. Muschietti, along with his frequent collaborator (and sibling) Barbara Muschietti developed the series with Jason Fuchs, who worked on It Chapter Two and the recent Argylle. AndyThe full teaser for the new series is online and it is about what you would expect from an It prequel television series: It looks like it is set in the past, and it looks scary. Scaredy cats need not apply.You can watch the It: Welcome to Derry trailer below:READ MORE: Max Is Changing Its Name Back to HBO MaxThe series’ cast includes Jovan Adepo, Chris Chalk, Taylour Paige, and James Remar. Bill Skarsgard is also reprising his role as Pennywise, the evil demonic clown who terrorized the people of Derry in the It movies.Here is the series’ official synopsis:Set in the world of Stephen King’s “IT” universe, IT: WELCOME TO DERRY is based on King’s “IT” novel and expands the vision established by filmmaker Andy Muschietti in the feature films “IT” and “IT Chapter Two.”It: Welcome to Derry premieres this fall on Max — by which point the service will be back to being called HBO Max again. The season is expected to consist of nine episodes.Get our free mobile appThe Best Horror Movies of the Last 10 Years (2015-2024)These modern horror movies are sure to keep you up at night. Gallery Credit: Emma Stefansky

After years of development, HBO has finally released a teaser for its prequel series, It: Welcome To Derry, which will debut this fall. The series is developed by It and It: Chapter Two director/screenwriter duo Andy Muschietti and Barbara Muschietti, with Andy set to direct multiple episodes of the series. “Set in the world of Stephen King’s ‘IT’ universe, IT: WELCOME TO DERRY is based on King’s ‘IT’ novel and expands the vision established by filmmaker Andy Muschietti in the feature films ‘IT’ and ‘IT Chapter Two,’” reads the official longline. The series takes place 27 years prior to the events of both films. According to the lore, the malevolent entity known as It preys on children before entering a 27-year slumber. This show explores its earlier killing spree, setting the stage for the events depicted in the It movies. In a conversation with Radio TU (via Bloody Disgusting), Muschietti teased that “the first season is 1962, the second season is 1935, and the third season is 1908.” These time periods are drawn from the interludes in the novel, which follow Mike Hanlon’s research into Derry’s dark history and the three major incidents believed to be caused by It. Bill Skarsgård is set to reprise his role as Pennywise the Dancing Clown, which Stephen King fans widely praised as perfect casting for the iconic villain. Although Skarsgård wasn’t originally attached to the project, he ultimately decided to join the show. Taylour Paige, Jovan Adepo, Chris Chalk, James Remar, Stephen Rider, Madeleine Stowe, and Rudy Mancuso round out the cast. Jason Fuchs, who wrote the teleplay for the first episode, and Brad Caleb Kane serve as co-showrunners on the project.

New Layers, Coexisting Mentze Ottenstein enhances the 1885 Dinesen Country Home with scenic components while converting the residence to a guest house By Paige Davidson • May 19, 2025 • Interiors, International (Monica Grue Steffensen) SHARE At the southern end of Denmark’s Jutland peninsula lies the small town of Jels. There a quiet, white thatched-roof home built in 1885 is tucked in a meadow, located at the end of a long gravel road. The Dinesen Country Home, a former residence for the family of the esteemed wooden floor company Dinesen now acts as a guest house for friends and select clients of the brand—and may even be open for public bookings. The new era is ushered in by Copenhagen-based architecture firm Mentze Ottenstein. The refreshed Dinesen Country Home proudly holds true to its original bones, while also embracing new Scandinavian notes to create a hygge atmosphere. The 2-story, 3,636-square-foot abode was first acquired by the Dinesen family in 2004. Shortly after purchase, it commissioned family friend and architect, Jørgen Overby, to restore the house to its roots. Overby highlighted original elements to the home by reinstating them, such as the thatched roof, fireplaces, historic windows, and custom kitchen carpentry. For the cofounders of Mentze Ottenstein, Mathias Mentze and Alexander Ottenstein, the task then became adding to this initial groundwork by converting the private residence into a contemporary showroom and guesthouse for the Dinesen company and adding new material ornamentation. Read more on aninteriormag.com. Denmark

The International Architecture Exhibition – La Biennale di Venezia,  has returned, with its grand opening held in early May. The exhibition runs until November 23, 2025 The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion. But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival. Here’s a round-up of the Canadian work in Venice. Picoplanktonics. Photo credit: Valentina Mori Picoplanktonics led by Living Room Collective Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art. The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.” The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components. It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment. The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee. Etude Ile Verte by Atelier Pierre Thibault. Photo credit Alex Lesage Les boucaneries de l’île Verte by Atelier Pierre Thibault Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec. His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte. With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy. This includes community greenhouses, artist studios, and gathering places. The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.” The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project. Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach. The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale. The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation. The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences. Image courtesy of WZMH Architects Speedstac by WZMH Architects as part of Living With…Combined Intelligences  As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt. Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine. With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures. The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment. Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution. The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects. The Vivre Avec / Living With exhibition is hosted in the French Pavilion. Presentation, Northern Horizons. Photo credit: Blouin Orzes architectes Northern Horizons by Blouin Orzes architectes as part of Time Space Existence  Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens. Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000. Their contribution is based on their  recent publication, Northern Journeys. Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens. View of Commercial and Residential Towers from Seymour and West Georgia Streets. Image credit: Henriquez Partners Studio BC Glass Sea Sponge Another contribution to Time Space Existence is the work of Henriquez Partners Studio. The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver. The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline. Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure. These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation. This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance. The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use. Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency. Henriquez Partners’  contribution is on display at Palazzo Bembo. Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation. In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast. The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing. Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.” The project will be on display in the French Pavilion. The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale: On Storage Brendan Cormier is a Canadian writer, curator, and urban designer based in London. He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum. Prior to this he served as the managing editor of Volume Magazine. La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R). It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R. From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada. The Curse of Dimensionality Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP. She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London. Oceanic Refractions Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator. Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms. SpaceSuits.Us: A Case for Ultra Thin Adjustments Charles Kim is a designer currently based in Boston. Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability. Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile. Uncommon Knowledge: Plants as Sensors Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design. She is interested in the intersections between landscape, architecture, and the history of technology. Doxiadis’ Informational Modernism Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program. Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow. Blue Garden: The Architecture of Emergence Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist. Her practice is focused on addressing and combatting issues surrounding the climate crisis. After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H. Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London. Design as an Astronaut Dr. Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration. The Initiative focuses on helping students take their research into space. The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon. Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics.   The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.